Talug sex bamo

It is this characteristic mix of courtly sensuality and intense spirituality that is arguably the most striking aspect of South Indian sculpture, as could be seen from last year’s major exhibition of South Indian bronzes at the Royal Academy of Arts in London.

The art of casting such bronzes seems to have begun in the eighth century in the court of the Pallavas, but it was their nemeses, the imperial Chola kings of Tanjore, who patronized the sculptors that brought the art to perfection.

Images of the holy family of Lord Shiva echo those of the Pallava dynasty: only the number of arms and heads distinguishes one from the other.

Queens, courtesans, and goddesses alike are shown carefree and sensual: bare-breasted, they tease their menfolk, standing on tiptoe to kiss them, hands resting provocatively on their hips.

There is a breezy lightness of touch at work: a flute is playing, there is dancing, and the heavenly apsara fertility spirits and goddesses are whispering fondly to their consorts.

It formed the central topic of every single court drama, save one, that has survived from the fourth to the seventh centuries.

Classical India developed a refined and tutored sophistication about the finer points of sexuality, famously so in the Kamasutra, the principal work on love in Sanskrit literature.

One South Indian dynasty even sent an embassy to Rome to discuss the problem of the balance of payments.

You can still get a flavor of the intoxicatingly rich and sophisticated classical India that supplied these luxuries at the once-great port of Mamallapuram on the Coromandal coast.

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